Original subtitles

From the start of this movie,

we've done a bunch of practical stuff, which is amazing.

We have so many key big stunts that we have left to do.

We're at a point right now in the movie

where there's a lot of moving parts,

and the beauty of the team we assembled

is that each and every one of those guys

is the best of the best.

I feel like it's very personal for me

because I want Dave to be successful.

And by him being successful

meaning that my department

is achieving everything that he has in his head.

Check out down here.

OK, let's get in.

You OK?

-Good? -Yeah.

Is he good?

- It's good? -All good. Thank you.

How was that?

No?

So, this morning we did what's called a sidewinder.

In a crash situation,

you're only as good as your slowest vehicle.

So our skip bin was kind of dictating

the pace of our action.

We were able to get to 50 miles an hour,

so a little bit slower than we wanted to go.

We thought the weight of the vehicle

would have ripped through the van a little bit more,

but the van was actually really strong.

From a stunt standpoint,

I had hoped for something a little different.

But any time that you can walk away from a stunt, it's good.

And I think we can learn stuff for the future.

With sidewinders, you don't always know

exactly what the end result's gonna be.

It could flip over.

It could do a 180.

This was quite different than any of us have seen so far.

So, it was pretty cool.

And I think it's gonna be a great piece of the movie.

It may not have flipped over,

but the first thing Dave said was, "That's in the trailer."

Oh, he loves it.

The sidewinder was not what we expected.

But sometimes, that's what's great about those stunts.

The sidewinder always looks different.

The fact that it's stuck in the vehicle

and just sort of twisted,

you know, made something really violent and epic

we were excited about.

So, this is the end of the Boone Chase.

And action.

It starts in The Ivy. We have a pool fight.

And the whole chase begins.

There's a smash through the tram window.

Foot chase.

And then the final bit of the chase ends,

Colt pops over a rail,

puts his mouthguard in,

stands in front of the taxi and takes a car hit.

We should do a check on that.

It's strange. I've been doing stunts for nearly ten years.

And, uh, never done a car hit, never done a fire burn,

and I'm doing both on this show.

Just to get you 80 percent of where it's gonna be

- is what the purpose of this is. - OK.

And just know, like, as you come off,

like, that you probably would've banged your head a little bit.

Oh, absolutely.

I'm not scared of it.

I wanna put myself out of my comfort zone and see how I do.

I wanna be one of them stunt guys who, you know,

if I climb the ranks and become the boss,

I want to have done everything.

Uh, so what we've done here is we've put some padded foam

in front of the glass here.

That's gonna give you a little bit of protection as well, so...

It's a bit of a softer landing.

Is the goal for this to have Ryan almost step out

like deer in the headlights type thing,

- and then get hit? - Yeah.

So, he starts somewhat square, and then boom, goes into...

Again, that's where we're going right now.

Now you're ready to race. OK, let's try one.

Yeah, all right. Go.

-OK, you set, Benny? - Yep.

OK, steady rehearsal. OK, here we go.

And action, Nash.

All right, let's reset.

But it's nice to just get familiar with what happens

when you get hit by a car.

Learning that the driver

has just as much input on what happens to me.

Immediately, your feet get kicked out of you

and you fall flat on your face.

It's such a weird feeling.

It's like jumping on a moving treadmill

that's going 20 miles an hour.

Jesus.

OK, let's reset.

You need momentum.

You don't wanna get stuck in the windshield.

So, spinning that way would go that way.

And that's why we gotta get you into a position

or think about position, because if you're there,

it stuffs your shoulder right away.

That's what I'm trying to get around.

Not knowing the outcome is the hardest part of stunts.

You plan as much as you can, but the thing is,

a car hit is one that's kind of up to a little bit of chance.

Ben's, you know, gymnastic, parkour kind of background

is a great basis for doing a car hit

cos you can control your body.

But it doesn't matter. The car hit's the same.

- You OK? - Yeah.

Nice.

My name is Ben Jenkin. I'm from Blackburn, England.

And I've been a stunt performer for ten years.

England is one of the best places to do parkour.

It's just a great place to jump off buildings and jump around.

The architecture just fits it very well.

The reason I got into and kind of fell in love with parkour

was I liked the physical challenge

and then I really like precise movement,

accomplishing cool things physically

that I guess normal people don't do or don't even think of.

- It was mad. - Cheers, cocker.

All right, I'm going up there.

- What do you mean? - Watch out.

Cheeky... How did you get up?

Yeah, how did you get up? On the bin?

That bin.

Oh, too hard for me, this.

It better be a good brew.

My dad was a big influence on me growing up.

He was, like, the adventurous parent.

He would take me and my friends to, like, jungle gyms

and he would set up obstacle courses for us.

My dad taught me backflips and front flips

and a bunch of flips on the trampoline.

So, I think I got my adventurous spirit from him.

-This is just normal Ben? - This is normal Ben.

Every time he comes home. He's always on summat different.

Did you not fancy doing it yourself?

Not a chance.

I'll stick to my construction work, thank you.

And I presume you used to jump off the roof

when your mum was in.

Yeah. All the time. She got used to it.

Driving back from picking someone up,

and I'd just be on top of the roof.

"Hi, Mum." And just jump off.

- Funny. -What did your mum think?

Um...

Just like anything, I feel like,

you know, at the start, she was...

It scared her.

And then she just realized that it is what it is

and it's not gonna stop, so she may as well have to accept it.

Oh, yeah.

-Yeah? - Yeah.

Growing up, I didn't really know what I wanted to do.

My first job was a paperboy.

And my second job, my first real job,

was working in a kebab shop.

And, uh... And then I don't think I lasted long there.

Um, and then I just started training

and started, you know, traveling the world and adventuring.

I feel, like, as a kid, you don't really need a lot.

And the little money that I had went a long way.

So it was only until I kind of went to L.A.

and got a taste of what those guys

and my friends over there were doing,

I was like, "Wow, I could maybe make a career out of this."

You know, I didn't start doing parkour

to be a Hollywood stuntman.

I just did it because...

I don't even think I knew what a Hollywood stuntman was.

I just did it because it was fun.

I did it because I enjoyed the challenge.

I did it because I loved pushing the limits

of my own physical self.

You know, trying moves that no one's done

and doing moves that no one's done, creating moves.

Um, this was the first kind of, like,

big structure that I climbed up there.

So, that little tower at the top of Revidge Road,

we would just come here during, you know,

somewhat closer to night,

and just climb up that.

From there, it is the absolute best view of Blackburn.

And so, right now, we're heading to a place called Witton Park,

which is just basically where it all started for me.

I live right across the street from this place.

We used to get, um... little aerobic circle trampolines

and take off all the legs but two,

and then stick it into the sandpit

over here at, like, an angle.

And this right here, this sandpit,

is basically where I learned all of my flips.

Are you?

-Yeah. -Love it.

Yeah, it's crazy. We would bury...

We would bury the trampette, like, right here, on this angle,

and just take massive runups.

We would spend all day just flipping into the sandpit,

just learning different tricks and flips, using these hills.

It's a lot easier to do a flip

on a kind of an incline of a hill.

Yeah. God, I have so many stories here.

I remember my friend,

we got on that little structure over there,

that little brown hut.

And it was just the perfect amount of runup

to clear the fence on the other side.

And it was a nice little gap.

And my friend one day did it, ran, jumped,

slipped a little bit, landed.

Broke his, um... Broke his ankle and his elbow,

like, snapped it forward and back, and it was horrible.

And it just so happened

that his auntie was walking past at the time

with, like, six little dogs.

And he was on the ground, like, crying.

She goes, "Oh, my God, Steven, what's going on?"

His arm's hanging off. And, uh...

And the dogs were running around his ankles and his feet.

And he's like, "My ankle, my ankle!"

And then we realized that his ankle was snapped as well.

It was a mad day. Mad day.

I don't know if I'm at that stage where I'm like,

"I wanna be remembered for this and this and this."

Like, I just love doing what I do.

And I love creating and doing cool stuff.

And if that cool stuff's remembered, then great.

Let's go!

- What's up, buddy? - Let's get going.

Let's get going.

- He said we're done. - I'm done talking about this.

- Boom, go. - OK.

It's just funny to talk to, like, the director of the movie

about how he used to get hit by a car,

giving me advice on

how I'm about to do this stunt. It's unique.

Yeah, just do one real quick. So, just stop to here, yeah.

I personally hate this part of my job,

where I have to hit somebody with a car.

Stunts happen. No, I know.

Yeah, it just makes me ill.

I know that the potential for injury is there.

You plan as much as you can to be as safe as you can.

But you know, unfortunately, getting hit by a car,

there's a little bit of nuances

that are a little bit out of your control.

Two, one, go.

Good. Thank you, go to one. Nash, you ready there?

Copy, ready.

Let's roll sound and cameras, please.

Rolling!

All cameras speeding.

OK. Camera set. Ready and background.

And three, two, one, go.

-Cut! -Cut, cut, cut.

Ben, you good?

Yep.

You good?

Everybody wants to be a stuntman,

you know, and so, the one thing I always tell 'em, it's like,

"OK, I'm gonna hit you with a car,

and then we're gonna not get it on the first take,

and then I'm gonna hit you again."

Even though take one sucked and it hurt,

you gotta do it again.

Are we rolling on all the cameras, chief?

Cameras are set.

And three, two, one, go.

- Cut! - Cut, cut, cut! It worked out.

You good, Ben?

You good?

You OK? You OK?

- Yeah. - Good job.

Ben, how are you? Your leg? Your knee?

My left knee.

You know, he knows the risks

and knows what the possible outcome is.

I can only protect him to a certain point.

That's what, you know, being a stunt guy is all about.

Just right leg on the first one, left leg on the second.

It's weird, like, I look at some of these guys like...

like they're my kids a little bit.

You know, so I just wanna make sure I take care of 'em.

That's kind of it.

Even though they're not kids,

they're all grown adults and men,

but I feel responsible for them.

My job and my career, it's crazy.

When you're at work,

you have to be so alert because your life is on the line.

So, you have to be on all day.

Golf is my way to chill out and relax,

when I'm not getting hit by cars or set on fire.

It's funny, playing golf, being a stuntman.

So, the ribs are sore,

the side's sore, cos of the stunts?

- The work you're doing? - Yeah, right side is sore.

I tweaked it.

When you get hit by a car,

you don't necessarily know what's gonna happen.

It's a very in-the-moment reactive thing.

And golf is calculated. You control everything.

Good.

The day after the car hit, I could barely walk.

- Cos I usually walk the course. - Yeah.

I was like, " that. I'm not doing that today."

Mentally, it's definitely the harder sport.

Just to me, overall, golf is the harder sport.

What's the next stunt coming up for you?

Good.

Next big one, I think a fire burn.

- OK. - I get lit on fire

and then get slammed 20 feet back into a wall, I think.

I'm a very average golfer.

I just do it just to chill and have some fun.

Go one more. Give me one more good one.

Nice.

Yeah! That was it!

We needed extra help, so we called the perfect guy, Jojo.

Then it's like, look at him. Everything's aggressive.

Jojo's an incredible martial artist.

You got this, and throw, right?

He's gonna be training Winston, one of our main actors,

and then he's gonna join us in Australia.

He's a great choreographer. And he's great with story.

And he's just really fun to work with.

Next victim.

Next victims.

Eusebio, Jojo, um, has more of a martial arts background.

And really, on the John Wick films,

we talk about just giving me skills to have a toolbox.

And Jojo, just so creative. All of the action...

The knife fights...

He's, like, such a beautiful spirit.

Totally respectful.

But comes from that, also, tree, like...

"Do what you want.

But be ready and do it, you know?"

That's it.

What I've noticed about stunt people

is they hold each other accountable.

If you wanna say no because of a real reason, OK.

But if not, then I just like yeses.

I like, "Yes, sir." I like, "Yes, ma'am." Let's go.

Stunts gets to use physical language.

Not text, but physical language.

You know, stories that are driven by physical movement.

So, we get into conversations of,

"Cool, you're gonna do this move.

You're gonna do this action.

But what is it connected to?"

Go!

Beautiful.

In terms of, like, designing sequences,

like, why is the car crash happening? Why is there a fight?

They would say, like, "OK, what's the character?

How does the character fight? What is the drama of this?"

And even if it's just walking down the two steps,

because why did you trip?

Right? What's the story? Is it comedic? Is it tragic?

Are you the guy whose life is falling apart

and you're falling?

Or is it because you're an asshole

and you're like, whatever,

and then you fall a little or if it's just an accident?

Danger everywhere. You know, what is it?

When I was starting stunts, I used to live up here. So...

My old apartment is probably, like,

kind of a block away from here.

And I remember before I was doing stunts,

I was getting my master's at Cal State L.A. for criminalistics.

So, I remember the tipping point,

I used to sit outside on my porch over there

and contemplate what I wanted to do with my life.

Do you go the expected route,

or do you go the route you wanna follow your heart?

I just thought to myself, I go, "I wanna do stunts.

I wanna go for it."

So, I just made a conscious decision that day,

I remember that night.

And then, I pretty much just phased myself out of school

and just jumped on the next... I got offered a job and I went.

Never came back.

You know, I think the scariest part

is when I had to tell my parents

I'm gonna drop out of school

to pursue this dream to, like, hit the ground

and fall on my head.

Like, I'm Filipino, so my parents are...

Education to them is the highest level of achievement.

I could just see the disappointment in their face.

Right? And then, at the same time, I'm like,

"Can I borrow some money so I can pay my SAG dues?"

That was scary, too.

But I paid my mom back, so the rest is history, I guess.

It worked out. I'm happy, for sure.

We're building this ramp in this glorious weather today

because there's no other time to do it. So we're sucking it up.

We're in the rain. We need to learn

what this ramp does, how to put it together.

As you can see, they're pretty miserable over there.

Mr. Nelson up there, he's just taken his rain jacket off

cos he wants everyone to see his pecs.

Oh, God.

That's... That's way too much.

You're meant to be miserable. It's raining.

The original TV show,

the truck was a character in itself.

Everybody knew the big jumps in Fall Guy.

The truck jump in Fall Guy is iconic.

There's all these great shots in the original

where vehicles are passing just as the truck lands.

It was something that the guys really wanted to do

as an homage to the original.

What we're doing here is an actual test

because we wanna make sure that when we do this jump on the day,

it doesn't kick up way too high in the front or nosedive.

- Yank that in just slightly. - Yeah.

This is a collapsible kicker. This thing's propped up up here.

So, as soon as the front tires go off it,

it blows back the support, which drops the kicker.

So, when you have a truck that's not balanced,

you can get the front end to fly

and just get it to land just right.

Let's move that little sucker around to here.

This film industry is very hard on relationships.

It's like a drug. It's very addicting.

You get this call for this job

and it's across the world in Australia and you gotta go.

But a lot of people's relationships fall apart.

I put my relationship with my wife and kids first

and this business second.

And so, I make sure that I'm available

for important dates and events.

And just spending time with them.

Hey, guys.

This is what Daddy's office chair looks like.

Working. Look at this.

See that? My special seat.

It's the inside of a truck, but nothing inside of it.

That way Dad can do a car crash with it on purpose.

To make a movie.

Try calling me before bed,

but just in case, I love you guys so much.

Bye, guys.

You still wanna try that jump today?

It'd be good to know.

We'll just do some speed rounds of me and Dan on the bike.

Yeah, perfect. OK.

So, we can just zone in on a distance.

Cool.

Sometimes, a misconception about what stunt performers do

is people think we're daredevils.

But it's so far from the truth. We're very calculated.

- I'm just gonna do one for me. - All right.

Just so I can land wherever you want me to land.

Yeah. It's just knowing how far

we're gonna go with how much speed.

The real truth is

that we prep these things for weeks or months.

There's so much prep in the background,

with all kinds of little stuff that you wouldn't even think of.

My name is Dan Reardon and I am a stunt performer, stunt rigger.

Or a stuntee or stuntman or stunt guy

or whatever you wanna call it, you know?

Motocross, supercross was it for me.

I was probably in my late teens before I thought,

"I could probably make a career out of this."

Being subject to that world for such a long time

allowed me to be a specialist in this world.

Do you wanna go with me now?

Yeah.

I'm gonna drive at 35 miles an hour. Let's see what we get.

So, I'm gonna jump. You're gonna be beside me.

And I'm just gonna go at your speed.

Yes. I'll pace it. All right, cool.

-Just go the same speed. - Yeah.

A lot of things that happen in a car,

you can feel on a bike and vice versa.

So we understand weight and balance

and where we need to be.

The ability to look at a distance

and know exactly how fast we need to go.

Let's try at 40. Let's see where 40 gets us.

But I think that's kind of the number.

Yeah, OK.

- One more at 40? -Yeah.

It's about executing the stunt how you said you could

and putting it on these marks

because if you don't, you ruin the show.

I think that's a pretty good test, actually, Loges,

if you're happy with that.

Yeah, that's good.

Now we know and we come back on another day

that it doesn't rain.

We're testing the ramp today

to make sure that we have the proper flight.

Also, we need data to know

where to put the cameras on the shoot day.

We use boxes for the landing

because it's a way to test

without hurting the truck or the driver.

Let's strap you in.

- Let's do it. Should we do it? - Let's do it.

- Let's do it. -Let's jump.

Quick, before the bastard blows away. Back it up.

- Everyone set. - OK, I'm set.

OK, Logan, you are clear whenever you're ready.

-That was smack on. -Good.

- Good flight. -It was.

I think this was absolutely perfectly successful.

Good flight.

Awesome, huh?

- Yeah, thank you. - Well done, brother.

When we do this jump, we have to get timing runs

with the bin truck making this turn

because we want the GMC to land right behind it.

The goal is to go 30 miles an hour, so that's 48 K.

We've already tested this jump. It goes 50 feet.

A lot of these stunts, you have one shot.

So, that's the pressure.

It doesn't matter what kind of vehicle it is.

If it's a $500,000 Bentley or a cheap little car or whatever.

Like, the cone is about the landing.

I really don't wanna land on that

cos it's gonna be a nasty wreck for me.

You'll probably be just fine.

We're getting ready for the speed test.

Timing's the most important thing. We need to figure out

where my truck needs to be

in relation to where his truck needs to be.

I need to hit 30, 32 mile an hour,

cos Logan will be doing exactly the same speed.

It's an old truck,

takes a little bit of time to get up to speed.

Carry that speed around the corner,

and then Logan can meet me exactly where it is right now.

So, let's start clearing everyone off this intersection.

There's a lot of people staring, doing nothing.

They're just in the way.

Understood.

Get the stunt doubles.

It seems good cos it's real stiff.

- Yeah. Like, I can get there. -Copy that.

But it's real stiff. I like that.

We've got a five-point harness

for Logan to be strapped in the seat.

Then on the seat, he's got these water bottles which he sits on.

Very hi-tech.

These basically act as a cushion.

In the original Fall Guy,

they were doing a lot of these jumps

and using these hanging harnesses like this,

with bungee and everything.

So, we're continuing to use their technology

because it works.

If you didn't have any of this and you just rode in the seat?

- You'd break your back. - You'd break your back?

You'd smash your spine into the seat like this.

So, it's really bad. You'd compress everything.

If you wanted to be shorter, it would be a good tactic.

Stunts only.

No cameras.

Cameras are rolling. Chris O'Hara, all yours.

OK, just to double-check again. Dan, you ready?

Set.

-Logan, you're set? - Logan's set.

OK, we're going on go. Here we go.

Ready, and three, two, one, go.

Cut, cut, cut, cut, cut.

Logan's good. Logan's good.

Dude, that was going right for the camera car, too.

We basically put a camera

three feet off of where he was gonna land,

and he landed right where we thought he would.

-Oh, my God. -Awesome. Great job, dude.

Oh, my God, dude. You're amazing.

Great, great.

That's The Fall Guy, right?

It's The Fall Guy!

- It's officially The Fall Guy. -Yeah, that makes it.

I feel great. It was definitely a very, very hard hit.

But all the precautions we took worked.

I'm happy I had every single thing that we did.

Nice job, boys.

The suspension to the hanging harness.

How was the impact? Pretty good?

It was hard. Like...

Are the water bottles still good to go again?

No.

Dude, that would've been your balls.

Yeah.

The bungee was everything.

You had to do a classic Fall Guy truck jump.

Sort of a shoutout to the stunt community.

And they just nailed it.

Man, Logan and Chris, you know, really put it together right.

I'm making your stunt reel.

I can't thank you enough.

The best part is actually doing

what we said we're gonna do to the T.

When they're excited,

and everybody's cheering behind the monitor,

you can't ask for anything more.

And not being hurt, too, that helps.

Next week, it's all concentrated on the Winston.

- The kitchen. - The kitchen stuff.

A lot of fight scenes in this movie.

Now that Jojo's here in Australia,

he can help me get a whole bunch of things ready for Dave.

That's another setup. Closeup.

Technically, I could probably make that one setup,

if I had to.

- If I was running for time. - Yeah, yeah.

We're doing mantra tests, fight tests, to see how they move.

So, the basic ones,

see how they run, jump and slide and stuff.

Now I've put weapons in their hands.

Then they can incorporate them more into the fight pieces.

OK, so, yes. You wanna spin and then jump.

There you go.

All these variables, you gotta keep adding in, adding in...

Yes.

It's not just moves.

A lot of people, there's misconceptions like,

"You're fight choreographers. You just do moves."

It's like, "No, it's a bit more complex than that."

Go!

Cross, hook, cross. But my weight's still on this front...

I think something that people miss about stunts

is you could be a phenomenal martial artist

or a great fighter.

But if you can't do those things with a partner, with a team,

on a set, under that schedule, you will not enjoy it.

It's a real struggle.

-Jo, you good? - Yep.

Thank you. Let's lock it down, please.

And action!

Cut. Good job, guys.

You take her up here, and then do that.

Get her up, do the turn that you did and then...

Dwayne "The Rock" Johnson!

Cut.

One of the reasons I really like working with Jojo

is because it's so organic.

And he is storyteller and he's trying to figure out

the most effective and bold way to tell the story.

It's almost like a dance between two people,

where real fighting, everything is not telegraphed, it's tight.

You don't want your opponent to see anything.

Movies, you have to overexaggerate your motion

so the lines look good on camera.

Do the clothesline, yeah.

Clothesline, yep. OK. Wang. And then, snap.

Yes. You can do this, too.

Right now, you're breaking up a cue, right?

You're going like this.

Stopping. Just go...

Walk through, and see you're already here.

And action.

Cut.

Good job.

- Yes, Winston gave great... -Oh, man.

I would like David to bless that,

but I'm in a good spot there.

We are doing something called the stunt montage.

We're doing it at the Sydney Opera House.

This is our truss grid for this big montage sequence

that we've been planning for months

and negotiating with the Opera House for months,

and now we're here.

- Sound speed. -And background.

And set up the rain, please?

In three, two, one, go.

We got wire gags going on.

We have, like, explosions going on.

We got rain going on.

So, wherever we point the camera,

I gotta fill up that space.

You see... to get up to throw, you should be on the move.

So you might have to take two steps.

- OK. - Boom, boom, boom.

Having Jojo here gives me a peace of mind.

He's just so great at what he does.

The whole team really delivered on this one

and I'm so happy with all the shots.

Laser swords and laser guns.

Look at this. Alien with a laser gun.

Fighting this woman soldier with a laser gun.

Pew, pew, pew, pew, pew. Watch 'em fall.

Down goes the alien.

So, today, this'll be my first fire burn on camera.

We did a couple of tests, which went well.

And we're up! Go for it!

In the script, Jody's mad at Colt.

Um, so she kind of makes him do something that sucks a lot.

Dan, can we fix his arms?

More arms?

You're flailing around. You look like a broken marionette.

- Copy that. No more floppy arms. - We're gonna go again, OK?

OK.

So, yeah, so I have to probably do this a lot of times.

To prep Ben for this burn,

we cover him in gel to cool him.

He's also wearing multiple layers of protection.

For any burn, we need all of this

to create a barrier between the flames and Ben.

Once he starts getting warm in a certain area,

it's called a hot spot.

And if there's not enough protective layer there

it'll continue to burn through.

Even after we've stripped him down,

it's still burning him through the flesh.

So, it's in our best interest to make sure

that the safety layers more than reflect

what we're doing out there on the set.

In regards to working the flame,

you've gotta be able to breathe in when the flame's away.

And then you breathe out...

as the flame comes across you.

So, that's super important. Very, very important.

Cos if you're breathing in

as the flame is licking around your face,

you can breathe it in and burn your esophagus.

And that's a worst-case scenario.

You see 400 people, all the crew just watching you.

You have six cameras on you,

and a lot of money gone into this,

a lot of everything, right, it's intense.

You know? It's an intense moment.

There's a lot of pressure.

And you've gotta have a strong mind to deal with it.

It's coming this way.

So, you're in a good spot right now, OK?

- And then I'll light you. - Copy that.

OK? So, I'll light you, and then once I see you're up,

I'm gonna give it a beat.

And then I'm gonna say, "And action."

- You go. - You're giving me the action.

- I'll give you the action. - Love that.

could go wrong, and I'm very aware of it.

I think it's good to think about the things that could go wrong,

and if they do, what are you gonna do?

OK, we're gonna start fueling now, please.

Yep. Let's start fueling.

Let's get it quiet. We're gonna go hot on effects.

With fuel, it's a fine line.

You wanna put enough on

to where you get the desired effect

of the size of flame that you want.

But if you put too little, it goes out really fast.

If you put too much, it gets too big.

Wind's in the perfect position, Ben.

- Couldn't be any better now. -Yeah, man.

The gods are shining on us.

Here we go. Cameras are rolling.

-Happy? -Ready, action, fighting.

Ready. And three, two, one, action.

Yeah, nice.

- He's up. - OK, you're on, bud.

- You're on! -And action!

-Go, go, go! - And in!

And cut.

- And all clear. - Step back, team.

OK, we're good.

And bring yourself up. Take a deep breath.

-Think I'm good. - Well done.

- You're good? - Yeah.

- Good job, man. Well done. - Yeah!

-And cut. -You good, Ben?

Great job, Ben. Great job, team.

All good, buddy?

Well done.

People watch a movie,

and they're sitting in a movie theater.

"Oh, man, that's so cool."

But, like, when you, like, take a step back and think about it,

we do scary stuff all the time.

This is a career moment for Ben, and he nailed it.

It was a massive opportunity for me.

There was a lot of weight on my shoulders

because it's such a big movie,

especially in the industry that I work in.

A lot of people are gonna be watching this.

There's lots of things to be proud of, and it's just all fun.

I think you gotta have big ideas

when you're directing and, like, try for bold things.

Flex our directorial muscles.

There's so much potential.

We could push the boundaries of stuff we've done before.

The action has to deliver.

Iyuno